Evening Star Newspaper, October 23, 1927, Page 61

ED LOCKETT- RialHto New World and Old In the Theater BY PHILANDER JOHNSON. T is in the theater that extremes meet; extremes of personality from the graceful to the gro- tesque; of thought from the most tic to the most uncom- promisingly coarse. The coarser thought is, of course, most easily emplo; fyed by the majority of people, and if crudity alone could be relied on in giving the public “what it wants” a_continuous source of sup- ‘ymwwld be constantly available. e difficulty of supplying attrac- tions is even more apparent this season than it was a year ago, and in many cases the bid for public ap- proval has been made on the lowest possible terms of taste. * ok ok % Having rejected the ridiculous for a while, the xtaze of the National, by the presentation of “The Jazz Singer” enabled audiences to enjoy the sublime. For ‘the average hearer, uneducated for the most part in the hutery which involves geep ious sentiment and a rigid dis- cip! this study in Jewish faith and devotion cannot with ease be sympathetically comprehended. It is far expressing itself in terms of popular entertainment. It holds great meaning for those who know accurately of the deep and reveren- tial emotion that inspires it, and for a few others whose sympathetic h a_wish to learn more of a peopie Who are here living fir’am‘m‘ a devotional life in the 8 far centuties ago. some degree "rhe Jazz Singer” Rnlels the story of “Magda” is new play deals with European conditions so strong that they sur- vive even the transplanting to Amer- ica and tells the story of a boy gifted and ambitious in a new life, yet overwhelmed at last by the sense of parental duty. It is rather a ser- mon than a play. Nothing could more completely refute the cynical assertion that the playhouse has no educational mission. The mission may be but seldom asserted, but the function is undoubtedly available. * ok x % In his speech after the final cur- tain, which the audience lingered to hear, llr. Jessel stated that the pur- pose of the play involved only a re- minder , of the Commandment, “Honor Thy Father and Thy Mother.” In claiming this honor for parents it also claims honor for idealisms which have been dear to the parents of parents back through man; erations. A’pr‘:ms play to deal with the adjustments to the rapid and con- fusing mdmon- of this new world’s life was “ Abramovitch” which dealt more with the struggles of o life as against the temp- tations to avarice and fortune ig-|u nobly won, than with the influences of home as weakened by the world of superficial pleasure. Yet like “The Jazz Singer” it por- trayed the struggle to grasp new and wonderful opportunities while risk- ing a discovery at last that what seemed vast riches would prove when assayed by Conscience even less|: than fairy gold. “Abramovitch” had the Anne Nichols’ fortune behind it. Its immense cast required the high- est ability in stage direction. * k k% Even greater ability is manifest in the Jessel play than in “Abramo- vitch,” although the actors are not so numerous. The effects are so subtle that they require the most deft man- ent, and the music which trifles at first with one of the most Banal of Broadway tunes culminates in a choral number which seems to sing in deep and splendid harmony a stra story of the boy favorite who has forsaken his Broadway for- ever and who will henceforth be the cantor that his loving father foresaw while teaching him, in child- hood, the sacred themes. This play cannot depend wtih ab- solute security on the large patron- age to which its intrinsic merit and the beauty of m interpretation en- title it. It appeals to the same sense of appreciation that welcomed the production of “Job,” not only as a reading from the Old Testament, but as a dramatic poem with actors capable of bringing out the rare beauty of the speeches. * % X% 1t is drama for the connoisseur. It ( depends on an interest which passes the billboards without much respect- ful scrutiny and might be willing to g0 to the East Side, not only in quest of viands of exotic delicacy, but to find in the Yiddish theater an art intensified, dependent on an intellectuality of effort and an enthu- siasm of popular devotion which has thrived independent of surrounding theatric influence excepung as it gave to the English-speaking theater such stars as Jacob Adler and Bertha Kalich. In “The Jazz Singer” only a few phrases of Yiddish are employed. In the plays which Jakob Gordin would adapt for Adler and his associates, the dialogue was entirely in Yiddish. Yet the story was not incomprehen- sible. The plot would be taken from the home life_of the immediate neighborhood. It might be the story of a wealthy banker on the Bowery who divided his riches and found his daughters ungrateful and treach- erous. The speech of the old man, “Alas, I now find myself in the situ- ation of William .Shakespeare’s King Lear!” gave credit to the source of the story and permmed an understanding of the action as it proceeded, even to a foreigner in this artistic lnnd * % Jessel passed a preliminary period of several seasons in the flippancies expécted of a smart young comic in a musical revue. He reflects his ex- perience in this. respect with dash- ing felicity in the earlier part of the play. His work is a fine example of modulation, as he tells of the rag- time virtuoso who reverts with so much dignity to type and becomes the cantor, s 4 The next step in his career will be the discovery of another play worthy of/ his ability. Such plays as the one in which he now appears are few, and even when excellent not so remunerative ‘as--the burnt cork and the mammrsnng ‘Will he find it necessary to chanfie again and forsake the role of the cantor to resume that of the jazz singer? * * ok k% One of the most remarkable of his scenes was that in which his black- face_make-up lost all its humorous significance as he learned the heart- breaking news from his father’s bed- side. It was “Pagliacci” in burnt cork, instead of bismuth. * ok ok % Blossoming with billboards, the theaters seek to console the disap- pointments of the recent past by effulgent promise of the future. The workshops of New York have been busy, and in all the array of bright expectation a few fond hopes must surely be realized. One of the most fascinating promises for the future is a single lflemoon perform:nce of John Gay’s “Beggar’s Opera,” It is to be deplored that so many allur- ing entertainments belong to the hummis bird order, passing so swiftly that they have time only to light and fly. L The question arises: “What are opera?” The phrase is not altogether im- proper, for by the rule laid down by every vill:ge schoolmaster the word “opera” is the plural of ‘“opus.” Music frequently assumes the privi- lege of making up m own grammar, as in the case of “piano” meaning “soft”; which the musical instru- ment very seldom is. The addition of the word “forte” scarcely betters the matter. . An instrument to be called “a soft loud” must waft reason into realms.of ecstacy to which the dull considerations of the lexicon should penetrate with no authority. The pianoforte has its best excuse in the ancient witticism about the lady “who was forte on her piano, but piano on her forty.” * %k * Customarily when opera is men- tioned only the name of the com- poser is used. W. S. Gilbert is one of the few librettists who succeeded in sharing to some extent the promi- nence of the musician. Old John Gay claimed full credit for his opera as a collection of literary work. He embellished his rhyming with various popular tunes whose titles are seldom seen in‘any other connec- tion. It is a rugged sort of creation and with plenty of Anglo-Saxon llables distributed through ogue and none of the senti- mentalism which would lend itself seriously to the aria and cadenza of the continental opera. Its rhyming as a rule has little more finesse than that of the quatrain which by so many was considered too undig- nified for inscription on Gay's tomb in Westminster Abbey: “Life is a jest and all lhmgs show it. I thought so once and now I know i” The music for the “Beggar's Opera” was arranged by John Chris- topher Pepusch, ia intention being to suggest travésty on the elaborate forms of musical’ drama. Pepusch was a scholar who specialized in church services and dncient music. His wife when heard in England was descnbed only as “the Italian Wom- an” Much that he wrote was anonymous. In addition to his other distinctions, Dr. Pepusch earns that of being the first and original, i not the only, modest and self-effacing music composer ever revealed to an admiring world, s WASHINGTON, D, @y ANNA TEbE- Strand IN THE SPOTLIGHT Notes of the Sude and Its People. “Brass Buttons,” a play by John Hunter Booth, is announced fop pro- duction by Lew Cantor. It will be staged by Victor Mor}ey. The name - * the mystery play for- merly known as “The House in the Woods” has been changad to ‘“One Wild Night.” It may open in New York this week. Stanley Logan and Florence Johns have been engaged for “People Don’t Do Such Things,” the comedy by Lyon Mearson and Edgar Schoenbers. ‘whlch Jones and Green are prodi ng. Edgar MacGregor, musical comedy director, plans to enter the producing fleld in December with a musical plece written in collaboration with Eddie Dowling. Mr. MacGregor later intends to present another musical play, “Belle Jean.” Otis Skinner will celebrate the fiftieth anniversary of - his stage career tomorrow night one week, when he opens with Mrs. Fiske and Henrjetta Crosman in “The Merry Wives of Windsor” in Philadelphia. 1t was a half century ago—October 21, 1877—that Mr. Skinner made his debut bdnl" the footlights in the old Philadel, useum in a play called “Woodkl‘ The National Thnur, he; the opening stand for Billie Burke" new play, “The Marquise,” which went into rehearsal last week under direction of David Burton. It opens here Monday, November 7. This is the play by Noel Coward, which was played in England by Marie Tempest. Arthur Byron will be the !umrod player in this :upportln; cast. , will be ‘The New York Theater Guild is floating along on the top wave of suc- cess at present. Its first production of the season, “Porgy,” scored a hit, and its road companies in Chicago and hMomrnl have been playing to packed ouses, “Ain’t Love G: the Edna Lee- dom ml:llc;l c«;(r;-nedy, is scheduled to open rool yn tomorrow night with a strong cast. e The cast of "Ths Banshee,” now in rehearsal under the direction of Clarke " Silvernail, includes Barry Macollum, Margaret Barnstead and Marje Carroll. The play opens in Springfleld, Mass,, on October 31, and is scheduled for a New York presenta- tion a month later. Bide Dudley of the Evening World of New York and Loulu Simon, the comedian, who wrote “Bye, Bye, Bon- nie” together, are working on a musi- cal comedy called “I Declare,” Beverly Nlcholl. the British author, was in conference last week with Crosby Gaige regarding the produc- tion of his play, “The Stag,” which will be staged by the latter after he has launched in New York * Finest” and “Wild Hnney." ‘When “Take My Advice” opens in New York a week hence, Ray Wall is to be featured in the cast with Ralph Morgan and Vivian Tobin. Mr. Wall recently arrived in New York from London, where he appeared opposite hl}ogrey Tearle and Tallulah Bank- e George Tyler beglnl rehearsing the new Don Marquis drama, “Out of the Sea,” tomorrow in New York. He will have Walter Hampden as director. | This will mark the first time Mr. Hampden has directed a play in which he himself has not been a member of the cast. While directing for Mr. Tyler during the daytime, Mr. Hamp- len will continue his performance of “An Enemy of the People” as usual. Philip Goodman is out with the an- nouncement that hl- next production will be a three-act play entitled “Jubilee,” formerly called "Cruhln: the Gates,” by James M. Cain. He is looking around for an actor for the leading role, which he had previously reserved for Louis Wolheim, who is at present immersed in motion pic- ture work. James W. Elliott pl placed “The King Can Do No Harm” in rehearsal last week. It is a new play by F. 8. Merlin, with Lionel Atwill as the star, and with Leona Hogarth, Felix Krebs, William Ingersoll, Ellen South- brook and Alfred Frith in the support- ing cast. Mr. Merlin is the author of ”Triblo Crossed.” Lxg’ht Opera Next Month. WITH November 7 a bare two weeks oft and the vanguard of the cast of principals who are to be identified with the President Theater Light Opera Company arriving on the scene, the musical enterprise which T. Arthur Smith is about to intro- duce to Washington begins to assume definite proportions on the local hori- zon. Millocker’s colorful light opera, “The Black Hussar,” last seen on the local stage some 20 years ago, when the old Castle Square and Bostonian companles were barnstorming their several ways across the country, will be Mr. Smith's first offering to be presented by the President repertory group. It is promised with all the fanfare and tinsel of the original pro- duction—light opera on a grand scale. ‘To this end Mr. Smith has engaged Charles T. H. Jones, one of the fin- est directors in the light opera fleld in America, who will begin rehearsals within the next few days. Stephen Golding, lcenlc artist, has been designated to design and paint the settings for all production the original drawings are being used by the company’s costumier in mak- ln{vtomry for the cast. ith Hazel Huntington in the role of prima donna, the company boasts one of the finest coloratura sopranos in the light opera fleld. She is well known locally, having appeared with the Henshaw productions two seasons ago. Miss Huntington, it will be re- membered, also was featured by the French-American Opera Comique last season. Mary Craig, a youthful soprano combining the qualities of youth and beauty with fine singing telens, also be heard in the inaugural opera. Heading the male contingent will be Wfl“nm Mitchell, tenor, who will hold the pivotal assignment fin the first opera. Robert Malone, a young- ster, a fine lyric tenor, also is given a favorable role. Others secured to_boost the cast of principals include William Barclay, an excellent baritone; Hayden Thomas, bass, and Lee Daly, who will enact the comedian roles, ‘The “Black Hussar” will be follow- ed by “Fatinitza, “The Grand Duchess,” “Princess of Trebizonde,” “The Gypsy Baron,” “The Daughter of the Regiment” and other light operas. Fasssus Moiar Rilles: D W. GRIFFITH wanted a mother * for “The Battle of the Senses"— his first four-reeler, and he was sorely vexed with the theatrical attempts of the women he was trying out. Suddenly Mary Alden, then at the threshold of womanhood, blurted out, “Let me do it.” She got a wig, dressed up in her aunt's clothes and was given a test. It turned out to be the best thing she had ever done. That was the beginning of Mary's mother roles. Her best known characteriza- tions in m-t‘l‘lono were glven in "nu Old Nest, Harvard” and “The Potters,” Sh‘ also was the well-remembered mulatto O.P HEGGIE - National H.B a Remnrklbl. Cnmerl A NEW step has been made at the De Mille Studio for Pathe, it-is claimed, which will revolutionize the making of moving pictures. The primary element is a new cam- era, invented and perfected by Art Director Rochus Gliese, which enables him to photograph the difficult angles of what is known technically as “a traveling scene.” In connection with the traveling shot, it seems, there are mental ideas that are transported to the screen. If a person stands still and lets his eye travel, it is natural that he should receive certain mental reactions to what he sees. This new camera ma- chine, it appears, makes it possible to photograph scenes the same way a person actually lets his eye travel. Then the exact image as the eye moves can be shown upon the screen, wlllh its corresponding mental stim: ulus. Hae Universal Appeal. CCORDING to Samuel Goldwyn, its producer, “The Magic Flame” was made for the entire world and can never be classified as either “truly American” or, for that matter, as a “foreign” picture. Like Shakespeare or the comic strips, its story is intended to enter- tain any one, regardless of nationality or language. The necessity of its uni- versal appeal was thoroughly dis- cussed before a scene was filmed. “The popularity of the big Ameri- can motion picture abroad is con- stantly increasing,” says Mr. Gold- wyn. “The time has come when we cannot make pictures for one nation alone, we must make them for all na- tions. I want “The Magic Flame” to tell the same story to the people of Delhi, India; Buenos Aires or Dres. den, al lt does to the people at Wash- Followln‘ this idea, Director Henry King and Scenarist June Mathis pre- pared the script with the idea in mind that the story must appeal to all peoples. Largest Circular Set. TH.'E largest circular set ever con- structed on any stage has been built for scenes of “The Main Event,” at the De Mille studio. Designed and executed by Rochus Gliese, former art director and writer for UFA, who came to the United States with Murnau as art director on “Sunrise,” this huge set is entirely closed around the circle except for a mall camera entrance through a cur- n. .Taking up the entire width of the| stage and as high as the roof of the structure, the set was used for a night sequence in which the camera follows the star, depicting a solo dancer as she enters the cafe, dances around the floor and then exits througa the stair- way curtain, all in one continuous traveling scene. PR TS Community Institute Events. TEN novel events, featuring dramatic and musical pyograms by artists such as Cornelia Otis Skinner, in her own charatter sketches; Sigmund Spaeth, in humorous, intimate music talk, “Jazzmania, a Musical Analysis"; and the Flonzaley Quartet, are an- nounced by the Community Institute of Washington for its first season, 1927-28, beginning November 3, in the auditorium of Central Cninmunlty Cen- ter, Thirteenth and Clifton streets northwest, at 8 o’clock, for which sea- son tickets are now available at the Franklin School Building. The Metropolitan Museum cinema films, never before seen in this city, will be shown early in the season, with a talk by Huger Elliott of the The films are “The Pottery “A Visit to the Armor Gal- and ‘“Vasantesena.” Gerrit A. Beneker, well known for his industrial paintings and the fa- mous Victory Liberty Loan poster, “Sure, We'll Finish ths Jab " will be heard in a talk of “Art Everyday Life,” illustrated with 33 lllfl. of his most popular works; and director of the Rhode l'knd School of Design, will give a lecture on. “Fakes and Forgeries.” John Enklnc. author of “Helen ot Troy” and * * and Star The Sunday Star [wemsne] SUNDAY MORNING; OCTOBER 23, . 1927. Attractions in Washing’ton Playhouses This Week MUSIC AND DRAMA. NATIONAL—“Surmise,” drama. ning. EARLE—"“Baby Peggy,” ning. NATIONAL—“Surmise.” Pauline Lord, whose work since “Anna Christie” has stamped her as one of the American theater’s distin- guished exponents of the emotional dsama, will be seen in her new play, “Surmise,” this week, beginning to- morrow evening, at the National Theater, preliminary to her New York engagement. In support of Miss Lord will be seen Elizabeth Patterson, Charlotte Gran- ville, Cecile Dixon, Grace Mills, Gwladys Hopetown, Gene Magnus, O. P. Heggle, Charles Francis, Donn Cook, Charles Courtneidge and Ed. ward Broadley. “‘Surmise,” the work of Frank Vos- per, an English playwright, was sug- gested by the famous case of Fred- erick Bywaters and Edith Thompson, who were convicted and executed in England for the murder of the woman’s husband. An unusual feature of that case was the series of remark- able love letters written by the woman to the young man. Published in the case books, these letters lifted a law book to the circulation of a ‘“best seller.” These letters of the heroine are said to figure vitally in the play. The author’ according to the descrip- tion of the play, takes as his prin- cipal character a young woman, imag- inative, impressionable, much given to dramatizing herself. The exciting ad- ventures which she relates to her family turn out to be fanciful rather than historic. Ethel Underwood is, even unconsciously, perpetually play- ing at theatricals—a shadow Amazon, showing how she might have fought. Fearing her husband and romantically in love with another man, she plays with the idea of her husband’s taking- oft—pictures herself putting poison in his drink, fancies a dramatic stabbing by her lover. And yet in her mental state the idea is arrested short of crim- inal intent; it is rather a reverie of ideas from novels and melodrama than a formed purpose to kill. Ethel is just acting, and she knows it. But her lover is no such player, and he puts her thought into action. KEITH'S—Mme. Emma Calve. ‘Vaudeville will be honored at B. F. Keith's Theater this week, beginning this afternoon, by Mme. Emma Calve, one of the greatest of all “Carmens.” The distinguished diva, whose voice until now has been heard only on the grand opera and concert stages, will now become a vaudeville headliner. Eddie Foy, famous comedian, al- ready has appeared at Keith’s, but now will come the younger Foys, “Chips of the Old Block,” featured in an original act. An unusual dance act is announced by Billy Bradford and Marian Hamil- ton, “Twin Stans in a Single Setting,” who will offer “Dancers a la carte,” assisted by Phil Sheppard. Others will include George Austin Moore in “Some Southern Songs and Stories”; Harry Lang and Bernice Haley in songs, patter and a little whistling for a surprise, in the skit, “Who Is Your Boss?’; W. Cromwell | all. Knox, the English humorist; Al Gordon's Comedy Canines, “A Treat for Young and Ol4,” and Frances and Frank in “A Supreme Offering,” along with Aesop's Fnbleu. Topics ot the Day and the Pathe News. le Rowe, | th Dorsey, nuthor of "Why We Du n-m her first Beings,” Like Human heard in the course, '.hn (urn ““The Moral Obligation to Be gent,” and the latter on "!-lu Our Clvllllltlon Failed?” Willlam B. Dodd of Chicago University and wmmn Starr Myers of Princeton will bnn continuously work in a stellar season wnn she made a brief ville wurlnth:M A Tomorrow evening. BELASCO—“The Play’s the Thing,” comedy. Tomorrow evening. KEITH'S—Mme. Emma Calve, vaudeville. This afternoon and eve- vaudeville. This afternoon and evening. GAYETY—“Burlesque a la Carte.” This afternoon and evening. STRAND—"“Moonlight Maids,” burlesque. This afternoon and eve- can flag; also in the World War as dred extras chiet zn‘innr. with the grade of lieu- try in the world, shore has handled some of the largest | ings, engine installations, EMMA CALVE - Keiths h——-————————d Barryimore's New Film l JOHN’ BARRYMORE'S next picture, “Tempest,” has started in pro- duction at the United Artists Studio. The story deals with the rebellious Cossacks after the Russian Revolu- tion. Slav Tourjansky will direct. All the vivid color and wild adven- ture of the famous Russian soldier- riders is to be faithfully woven into a strong dramatic background. Included in the cast are Vera Voronina, Barrymore's new leading lady; Louls Wolheim, George Fawcett and Feodor Chaliapin, son of the noted singer. Metropolitan Treats Ahead. ’ picture, “Swim, a Paramount pro- duction scheduled for an early show- ing at Crandall's Metropoman will give Washington a chance to judge of the ability, as a screen actress, of rtrude Ederle, the first woman to swlm the English Channel. Following closely, will come Wal lace Beery and_Raymond Hatton’s comedy, “Now We're in the Air” Richard Bartelmess in “The Drop Kick” and Dorothy Mackail and Jack zrlhé.l“l in First National’s “The Crys- Amons the later pictures to be shown will be “The Private Life of Helen of Troy,” featuring Maria Corda, the European actress, and Lewis Stone; Sam Rork’s production of “The Goril Charles Hoyt's fam- ous farce-comedy, *‘The Texas Steer,"” starring Will Rogers; Adolphe Men- jou in “The Serenade;” Ziegfeld's “Glorification of the American Girl;” Clara. in “Red Hair” and others of an outstanding type. stage of the FEarle Theater fol lowing the matinee performance a approximately 4 ndocl(. with gifts for her juvenile friends her likeness, and refreshments~ The man-| The advanced " announcement - of agement urges that the children at.|these attractions is made because tending this party wear Halloween |2ll of them will be shown for the costume, as prizes in gold for the most | irst time on Saturday, instead of effective costumes will be awarded. |Sunday, under the new policy adopted The added attraction will be C. B, |at Crandall's A Maddock’s production of “Side Kicks, Have Lenmed Screen Tricks a musical novelty in two scenes, star- ring Jack Cameron, with a company of el‘ht. The fi scgne is a side SOME famous authors of books and phn at least have found a valu- able additional medium of expression screen. The list of First National P recently completed, will disclose an including Rupert reveal a who “wrote ‘““The it bidexterous, and Hazel Crosby, the(Leather Kid,” a sensational -Eictee-:. American prima donna will be heard | with Richard Barthelmess as star: Johp in a novel song recital, including bal- | Erskine, author of *“The Private Life :‘1’: ::‘2. syncopation as well as oper- | of Helen of Troy,” just being com- , | Pleted: Peter B. Kyne, whose “The The photoplay will be Producers’ | Valley of the Giants" will be a vehiclg plcture “The Fighting Eagle,” star-{for Milton Sills; Harold Bell ‘Wright, ring Rod La Rocque with Phyllis|whose classic, “The Shepherd of the Haver opposite. It is described as a|Hills,” is now in production; Edward thrilling romance of flashing bhden- Childs Carpenter, author of “The Code lf:“l’ ‘women and heroic men, ted | of Victor Jallot,” which George Fitz- om Sir Arthur Conan Doyl - e | maurice is producing under the title Adventures of The house features will ,include whul':u:gau‘ K;thfi:;x;e%r:;b b o Ty, music by Daniel Breeskin' g Richard Barthelmess, wa: Earle Theater Orchestra, ichard Connell, author . Wheeler, and pipe organ accompani- | which formed the basis oc;t"'xtx': ;tl::y. ment by Alexander Aronl to huo. :,nd Grace Startwell Mason, aut! of a story from which “Man ?AYm—“Burluque Ia Carte.” |Crazy” emanated. Nor, even at this “Burlesque a la Carte,” this week’s | late day, should the late Charles H. attraction at the Gayety Theater, is|Hoyt, author of the famous farce, “A the latest offering of John G. Jermon, | Texas Steer,” be overlooked. Columbia Circuit producer. Others include Ben Hecht and Eli- Wayne McVey, eccentric comedian, [ nor Glyn, who will write stories to be heads the fun makers, while Estelle | produced by Robert Kane: Wallace Arab Nack, an acrobatic dancer, heads | Irwin, who wrote “American Beauty': the feminirie contingent. Jack Figaro | Willard Mack, Walter Fabian, Julfet is leading ma: ‘Wilbur Tompkins, John Kenyon Nich- Others in the cast are Helen Deland, | olson, Jack London and Adela Rogers prima donna; Marie Breen, soubrette, | St. John. and a chorus of 24 girls, who sing and| That the literary quality of the dance through the 14 ‘musical num.|screen is keeping pace with technical bers. A number of vaudeville special-|and entertainment values is belieyed ties will be introduced during the action of the nlecu. STRANI)—“MWIIH‘M Maids.” This week’'s Mutual Burlesque at- to be evidenced by the foregoing. Army Boosts “Dress Parade™ ‘ot Boslesque ot | “[JRESS PARADE." the Pathe- De Mille special, which was mad " with a cast head- . e by By Hagan, comedian, and(at West Point by Director Donald oebe, singer and dancer.|Crisp, with William Boyd as the star, Qthers are Joseph Ryan, Irish tenor:| (o typity the spirit of West Point, has Josephine More, soprano, and Gi Wallace, soubrette, who leads r:}':: been shown to the War Department &;;u:n :m- of the clxmrluu through | and, it is announced, officially ap- lozen or more musical and dance ved hibif Irposes numbers. Johnny Cook will offer a| "yt 0% SXDION Purposes 5 Yeoadeville specialty of unusual dance | Gon. Tuts Wakl the s . steps. P! eral of the Army, a request to the major generals commanding the nine corps areas of the United States that The impression has gone abroad |they co-operate with the theaters ex- that because Club Lido, in the Hamil- | hibiting this picture within their ton Hotel, Fourteenth and K streets | areas. northwest, ‘bears the title “club,” a| In his official letter to the command- membership card is necessary for |ing generals, Adjutant General Wahl admittance. Such s not the case. is quoted as follows: Lido frolics—nightly—are open to ‘It is desired that activities under your command co-operate, wherever Specialty nights every Wednesday | practicable, with the managers of Wwith visiting stage stars guests of |theaters exhibiting this picture in their honor, respective localities, in order that full advantage may be taken of the in- creased interest it will create in the Army. Co-operation through the re- cruiting service is especially desirable, ;‘SBl: ordlr of the Secretary of War. ned. “LUTH ‘WAHL, Major General, “The Adjutant General” Good Old Southern Days. '] OUISIANA,” George Fitzmaurice's production for First National the Iargest. mer. | days of iong 50 presents Slas s Hers mer- | days of nf a slave Ameri- | market mn:.‘o CLUB LIDO. ST Has Interesting Record. JNE “Roxy” star has never been heard radio-wise, nor has he ap- peared in any of the famous “Roxy" prologues. Neve less Joseph York, chief engineer of the Fox Theater, has hng ukmm :l‘lt‘rufi ing record. ork served through the Spanish- ‘War on board the U. 8. S. prese: in wh!chd le;en.l,hun- represente: the DE!“P" esque elements of Louisian: tion in the year 1808, when th' clty dweller, from clerk to Governor, wore and since coming on |a mn: hat, silk trousers and stock lace collar and cuffs, and the ‘with all types of country mn, be he rich planter or ventilating of modern | servant, wore buckskins, He has been in almost every coun-